Bridge - under normal conditions moderate light levels - NO LENS FLARES. Under combat conditions - red light for night vision enhancement.
Quarters - whatever the crew prefers would be the realistic way. Comfortable, warm lighting would be best for most "Earthers".
Common areas - similar to quarters, some variety depending on use.
Corridors - day/night pattern. From warm and bright though cool moonlight.
Trying to think in real-world terms. If you want a ship out there for an extended time, you have to consider lighting for mental health and sleep/wake cycles. One of the reasons I really have issue with having a huge variety of non-humans on a ship. They might not be comfortable with the lighting, gravity level, temperature, humidity...etc...
Quarters - whatever the crew prefers would be the realistic way. Comfortable, warm lighting would be best for most "Earthers".
Common areas - similar to quarters, some variety depending on use.
Corridors - day/night pattern. From warm and bright though cool moonlight.
Trying to think in real-world terms. If you want a ship out there for an extended time, you have to consider lighting for mental health and sleep/wake cycles. One of the reasons I really have issue with having a huge variety of non-humans on a ship. They might not be comfortable with the lighting, gravity level, temperature, humidity...etc...
Moderate or bright. It is a show about the future, I want to see the future they bring to life.
Yup. Limit the mood lighting. TOS or Kelvin are my preference on the ENTERPRISE.
In personal quarters, the lighting should always be instantly tunable according to the inhabitant’s preference.
On the bridge, normal warm lighting a la TOS or TNG. I see no reason to dim things for red alert — you’re on board a starship, there’s no “night” unless you want there to be, so no reason for night vision. Intentionally making it harder to see during emergencies seems a terrible idea…
Anyway, heck with the lighting — we need carpets back, everywhere! Not these metal floors.
On the bridge, normal warm lighting a la TOS or TNG. I see no reason to dim things for red alert — you’re on board a starship, there’s no “night” unless you want there to be, so no reason for night vision. Intentionally making it harder to see during emergencies seems a terrible idea…
Anyway, heck with the lighting — we need carpets back, everywhere! Not these metal floors.
MAKE IT LIKE I REMEMBER FROM MY CHILDHOOD NO DEVIATIONS
Actually, I think the trend started with Star Trek V. Those bridges are also a bit dark for my taste and it's not the lighting.
The TMP bridge was darker, TWOK was lit red for most of the movie, TSFS was supposed to look like minimal power.
Depends on the bridge!
I dunno really. When it comes to Trek, I think TOS/TNG/SNW have it about right. Evenly lit. Not so keen on the more shadowy affairs seen in DSC or PIC S03.
I dunno really. When it comes to Trek, I think TOS/TNG/SNW have it about right. Evenly lit. Not so keen on the more shadowy affairs seen in DSC or PIC S03.
Shadows are real.
Unless power is low (and if energy reserves are that critical on a vehicle or station powered by matter-antimatter reactions, you probably face greater issues than poor illumination) or a race finds light intolerable, "mood lighting" as the norm doesn't make much sense.
Most of SNW, I would agree. The bridge is seriously underlit, IMO.
I adored the atmosphere in GEN, even if it was by happenstance (knackered sets being lit would show off every last scuff'n'spitball on a 65' theater screen, which also explains why early into season 7 you see new turbolift interiors as the knackering of the original turbolift could be seen as early as season 1...) Mayhaps the interiors were too dark*, but the ambient glow of a local star really would have made episodes with binary star systems, blue stars, red stars, daylight white ones, etc, a lot more visually intriguing. Just as long as it isn't constant teal/orange, that was trite by 2005...
But I adore how TNG seasons 1 and 2, and TOS, were filmed, with so much shadow detail. This shizzle is on film, which makes for much better use of shadows and contrast.
Then again, TNG 3-7, despite being flat, got around (most of the time) the glare from the reflective console panels and the look was good.
As much as TVH and TFF were precursors to 2009's "Apple Store Aesthetic" look with all of that flat white (but no copious amounts of lens flares or other distractingflare flair), it's easy to see why TUC retooled the bridge. Plus, this is Star Trek, the bridge isn't the TARDIS console room where the white feels more "at home", so to speak. But I'm wandering into a tangent or two...
But I adore how TNG seasons 1 and 2, and TOS, were filmed, with so much shadow detail. This shizzle is on film, which makes for much better use of shadows and contrast.
Then again, TNG 3-7, despite being flat, got around (most of the time) the glare from the reflective console panels and the look was good.
As much as TVH and TFF were precursors to 2009's "Apple Store Aesthetic" look with all of that flat white (but no copious amounts of lens flares or other distracting
* In this regard, 21st century Trek promptly belches "Hold my beer"
Who are you?
Good afternoon! Personally, I tend to prefer dim lighting on a starship bridge. It creates a sense of focus and calm, and it makes the space feel more “lived‑in” rather than sterile. Bright lighting works for certain eras of Trek, but dim or moderate lighting feels more immersive to me, almost like the ship itself is part of the atmosphere.
And yes, I definitely feel differently depending on the area. Different environments carry different emotions: personal quarters benefit from softer, warmer lighting because they’re meant to feel safe and restful; common areas work better with moderate lighting to encourage social interaction; and places like cargo bays or shuttle bays make sense with brighter, functional lighting since they’re workspaces.
So for me it’s all about matching the lighting to the purpose of the room. Each space has its own mood.
